Generative AI and the Global Communication of Chinese Cultural Short Videos

Main Article Content

Siyu Hong

Keywords

generative AI, Chinese cultural short videos, global communication, cross-cultural communication

Abstract

With the rapid development of digital media and artificial intelligence, short videos have become an important medium for the global communication of Chinese culture. Compared with traditional forms of international communication, short videos are more visual, interactive, emotional, and platform-oriented, which makes them suitable for cross-cultural communication in the mobile media era. Meanwhile, generative artificial intelligence has begun to reshape the production, translation, editing, distribution, and evaluation of cultural content. This paper focuses on the global communication of Chinese cultural short videos and explores how generative AI empowers cultural content creation, cross-cultural adaptation, communication efficiency, and cultural value transmission. It argues that generative AI can lower the threshold of cultural content production, enrich multimodal expression, improve multilingual communication, and expand the international reach of Chinese cultural narratives. However, AI-driven cultural communication also faces challenges such as content homogenization, cultural misunderstanding, algorithmic bias, copyright uncertainty, and the weakening of cultural authenticity. Therefore, the future development of Chinese cultural short videos should not rely on technological efficiency alone. It should combine technological innovation with cultural accuracy, localized expression, human review, ethical governance, and international cooperation, so as to enhance the global communication power and cultural influence of Chinese culture in the digital intelligence era.

Abstract 0 | PDF Downloads 0

References

  • [1] Guzman, A. L., & Lewis, S. C. (2024). What generative AI means for the media industries, and why it matters to study the collective consequences for advertising, journalism, and public relations. Emerging Media, 2(3). https://doi.org/10.1177/27523543241289239
  • [2] UNESCO. (2021). Recommendation on the Ethics of Artificial Intelligence. UNESCO: Paris.
  • [3] Miao, F., & Holmes, W. (2023). Guidance for Generative AI in Education and Research. UNESCO: Paris.
  • [4] Hofstede, G. (1980). Culture’s Consequences: International Differences in Work-Related Values. Sage: Beverly Hills.
  • [5] Beugelsdijk, S., & Welzel, C. (2018). Dimensions and dynamics of national culture: Synthesizing Hofstede with Inglehart. Journal of Cross-Cultural Psychology, 49(10), 1469–1505.
  • [6] Hoskins, C., & Mirus, R. (1988). Reasons for the US dominance of the international trade in television programmes. Media, Culture & Society, 10(4), 499–515.
  • [7] Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York University Press: New York.
  • [8] Jenkins, H., Ford, S., & Green, J. (2013). Spreadable Media: Creating Value and Meaning in a Networked Culture. New York University Press: New York.
  • [9] Nye, J. S. (2004). Soft Power: The Means to Success in World Politics. PublicAffairs: New York.
  • [10] UNESCO. (2025). Artificial Intelligence and Culture: Report of the Independent Expert Group on Artificial Intelligence and Culture. UNESCO: Paris.
  • [11] Manovich, L. (2013). Software Takes Command. Bloomsbury Academic: New York.
  • [12] Rogers, E. M. (2003). Diffusion of Innovations 5th ed. Free Press: New York.
  • [13] UNESCO. (2021). Recommendation on the Ethics of Artificial Intelligence. UNESCO: Paris.
  • [14] German Commission for UNESCO. (2024). AI in the Cultural and Creative Industries. German Commission for UNESCO: Bonn.
  • [15] Miao, F., & Holmes, W. (2023). Guidance for Generative AI in Education and Research. UNESCO: Paris.